Canon EOS C500 Mark II Full-Frame 5.9K Cinema Camera

Canon's standard BT.709 gamma, applying the conventional Rec.709 transfer characteristic in camera. It is a finished rendering rather than a capture curve, reserving no latitude for grading, and is offered on Cinema EOS bodies alongside the C-Log family and the other BT.709 variants. It suits broadcast and fast-turnaround delivery, where material goes out with little or no correction applied after the fact.

Defined in ITU-R BT.709 in 1990 to give high-definition television a single colorimetric target as broadcasters moved off analogue standards. Its primaries were chosen to be reproducible on the CRT phosphors of the period, so all three sit inside the spectral locus and every color it defines is physically realisable. It is the smallest space in this base, and the reference every wider gamut here is measured against. In practice it is a delivery target rather than a capture space: grades finish in Rec.709 by default for broadcast, web and any non-HDR delivery.

A finished Canon rendering matched to the Rec.709 display standard, offered on Cinema EOS bodies alongside the log curves. Contrast and color are applied in camera, so the result is intended for direct delivery or light correction rather than for linearizing into a working space. It reserves no latitude for grading, which is the trade it makes. It suits broadcast and fast-turnaround work where the grading time a log workflow requires is not available.

Defined in ITU-R BT.709 in 1990 to give high-definition television a single colorimetric target as broadcasters moved off analogue standards. Its primaries were chosen to be reproducible on the CRT phosphors of the period, so all three sit inside the spectral locus and every color it defines is physically realisable. It is the smallest space in this base, and the reference every wider gamut here is measured against. In practice it is a delivery target rather than a capture space: grades finish in Rec.709 by default for broadcast, web and any non-HDR delivery.

Canon's standard BT.709 rendering, applying conventional Rec.709 contrast in camera. It is the least latitude-preserving of Canon's gamma options and is meant for direct delivery rather than grading. In this base it links to both the Rec.709 and Rec.2020 gamut records, reflecting the color-space options Canon exposes alongside the gamma setting on Cinema EOS bodies.

Defined in ITU-R BT.2020 in 2012 for ultra-high-definition television; BT.2100 later reused the same primaries for HDR. All three primaries sit on the spectral locus — they are monochromatic — which makes it the widest gamut definable without imaginary coordinates, covering 1.89 times the area of Rec.709. It is a delivery container rather than a capture space. No current display reproduces it in full, so HDR work is typically monitored on a P3 subset and delivered inside a 2020 container.

Canon's standard BT.709 rendering, applying conventional Rec.709 contrast in camera. It is the least latitude-preserving of Canon's gamma options and is meant for direct delivery rather than grading. In this base it links to both the Rec.709 and Rec.2020 gamut records, reflecting the color-space options Canon exposes alongside the gamma setting on Cinema EOS bodies.

Defined in ITU-R BT.709 in 1990 to give high-definition television a single colorimetric target as broadcasters moved off analogue standards. Its primaries were chosen to be reproducible on the CRT phosphors of the period, so all three sit inside the spectral locus and every color it defines is physically realisable. It is the smallest space in this base, and the reference every wider gamut here is measured against. In practice it is a delivery target rather than a capture space: grades finish in Rec.709 by default for broadcast, web and any non-HDR delivery.

Canon's Wide DR gamma, which extends dynamic range beyond a standard BT.709 rendering while keeping a broadcast-compatible contrast curve. It occupies the middle ground between Canon's finished BT.709 renderings and the C-Log family: more latitude than the former, far less grading required than the latter. Like BT.709 Normal it links here to both Rec.709 and Rec.2020, reflecting the gamut options Canon pairs with it.

Defined in ITU-R BT.2020 in 2012 for ultra-high-definition television; BT.2100 later reused the same primaries for HDR. All three primaries sit on the spectral locus — they are monochromatic — which makes it the widest gamut definable without imaginary coordinates, covering 1.89 times the area of Rec.709. It is a delivery container rather than a capture space. No current display reproduces it in full, so HDR work is typically monitored on a P3 subset and delivered inside a 2020 container.

Canon's Wide DR gamma, which extends dynamic range beyond a standard BT.709 rendering while keeping a broadcast-compatible contrast curve. It occupies the middle ground between Canon's finished BT.709 renderings and the C-Log family: more latitude than the former, far less grading required than the latter. Like BT.709 Normal it links here to both Rec.709 and Rec.2020, reflecting the gamut options Canon pairs with it.

Defined in ITU-R BT.709 in 1990 to give high-definition television a single colorimetric target as broadcasters moved off analogue standards. Its primaries were chosen to be reproducible on the CRT phosphors of the period, so all three sit inside the spectral locus and every color it defines is physically realisable. It is the smallest space in this base, and the reference every wider gamut here is measured against. In practice it is a delivery target rather than a capture space: grades finish in Rec.709 by default for broadcast, web and any non-HDR delivery.

Introduced with the EOS C300 Mark II in 2015 as the flattest of Canon's three log curves, built on Cineon digital-negative characteristics with 0% black at 10-bit code 95. It carries the most latitude of the family at 14 stops, placing 18% gray at 0.3983 with 8.4 stops of headroom. Canon recommends it for ACES and HDR work. Its flatness is the trade: it retains the most highlight and shadow information of the three and correspondingly needs the most grading to resolve into an image.

Canon's widest capture space, introduced with the Cinema EOS line to hold everything the sensor records. At 3.50 times Rec.709 and 1.85 times Rec.2020 it is the third widest gamut in this base; its green primary has a y coordinate above 1 and its blue y is negative, so a large part of it is imaginary. Canon recommends it with C-Log 2 for ACES workflows. It is a container rather than a look, and is normally converted into a working space before any creative grading begins.

• Canon 3D LUT for Canon 709 Ver.1.0.0Web ↗
• Canon 3D LUT for CMT Ver.1.0.0Web ↗
• Canon Log Gamma Curves White PaperPDF
• Canon Lookup Table ver.202510Web ↗

Added to the EOS C300 Mark II by firmware and now offered across the Cinema EOS range. Canon states it succeeds C-Log rather than C-Log 2, keeping C-Log's shadow and mid-gray behavior while extending range by about one stop — and the published curves bear that out exactly: both place 18% gray at 0.3434, while headroom rises from 5.4 stops to 6.3. That combination is the design intent, C-Log's ease of grading with a stop more room above middle gray.

Canon's widest capture space, introduced with the Cinema EOS line to hold everything the sensor records. At 3.50 times Rec.709 and 1.85 times Rec.2020 it is the third widest gamut in this base; its green primary has a y coordinate above 1 and its blue y is negative, so a large part of it is imaginary. Canon recommends it with C-Log 2 for ACES workflows. It is a container rather than a look, and is normally converted into a working space before any creative grading begins.

• Canon 3D LUT for Canon 709 Ver.1.0.0Web ↗
• Canon 3D LUT for CMT Ver.1.0.0Web ↗
• Canon Log Gamma Curves White PaperPDF
• Canon Lookup Table ver.202510Web ↗

Added to the EOS C300 Mark II by firmware and now offered across the Cinema EOS range. Canon states it succeeds C-Log rather than C-Log 2, keeping C-Log's shadow and mid-gray behavior while extending range by about one stop — and the published curves bear that out exactly: both place 18% gray at 0.3434, while headroom rises from 5.4 stops to 6.3. That combination is the design intent, C-Log's ease of grading with a stop more room above middle gray.

Defined in ITU-R BT.2020 in 2012 for ultra-high-definition television; BT.2100 later reused the same primaries for HDR. All three primaries sit on the spectral locus — they are monochromatic — which makes it the widest gamut definable without imaginary coordinates, covering 1.89 times the area of Rec.709. It is a delivery container rather than a capture space. No current display reproduces it in full, so HDR work is typically monitored on a P3 subset and delivered inside a 2020 container.

• Canon 3D LUT for Canon 709 Ver.1.0.0Web ↗
• Canon 3D LUT for CMT Ver.1.0.0Web ↗
• Canon Log Gamma Curves White PaperPDF
• Canon Lookup Table ver.202510Web ↗

Added to the EOS C300 Mark II by firmware and now offered across the Cinema EOS range. Canon states it succeeds C-Log rather than C-Log 2, keeping C-Log's shadow and mid-gray behavior while extending range by about one stop — and the published curves bear that out exactly: both place 18% gray at 0.3434, while headroom rises from 5.4 stops to 6.3. That combination is the design intent, C-Log's ease of grading with a stop more room above middle gray.

Defined in ITU-R BT.709 in 1990 to give high-definition television a single colorimetric target as broadcasters moved off analogue standards. Its primaries were chosen to be reproducible on the CRT phosphors of the period, so all three sit inside the spectral locus and every color it defines is physically realisable. It is the smallest space in this base, and the reference every wider gamut here is measured against. In practice it is a delivery target rather than a capture space: grades finish in Rec.709 by default for broadcast, web and any non-HDR delivery.

• Canon 3D LUT for Canon 709 Ver.1.0.0Web ↗
• Canon 3D LUT for CMT Ver.1.0.0Web ↗
• Canon Log Gamma Curves White PaperPDF
• Canon Lookup Table ver.202510Web ↗

Hybrid Log-Gamma, developed jointly by the BBC and NHK and standardized in ITU-R BT.2100. It follows a conventional gamma curve through shadows and midtones and switches to logarithmic encoding only in the highlights, which is where the name comes from. That hybrid shape is what lets a single signal render acceptably on both SDR and HDR displays without a separate SDR master. It is scene-referred and display-independent, unlike PQ, which makes it the practical choice for live broadcast where the viewer's display cannot be assumed.

Defined in ITU-R BT.2020 in 2012 for ultra-high-definition television; BT.2100 later reused the same primaries for HDR. All three primaries sit on the spectral locus — they are monochromatic — which makes it the widest gamut definable without imaginary coordinates, covering 1.89 times the area of Rec.709. It is a delivery container rather than a capture space. No current display reproduces it in full, so HDR work is typically monitored on a P3 subset and delivered inside a 2020 container.

• ITU-R Recommendation BT.2100 (HDR Television Parameter Values — HLG/PQ)Web ↗

Perceptual Quantizer, standardized as SMPTE ST 2084 and carried into ITU-R BT.2100. Unlike every log curve in this table it is display-referred and absolute: a code value specifies a particular luminance in nits, up to 10,000, rather than a relative exposure. Its shape follows the contrast sensitivity of human vision, so code values are distributed where the eye can distinguish them. Because it is absolute, PQ material is graded against a mastering display of known peak luminance, and that mastering metadata travels with the deliverable.

Defined in ITU-R BT.2020 in 2012 for ultra-high-definition television; BT.2100 later reused the same primaries for HDR. All three primaries sit on the spectral locus — they are monochromatic — which makes it the widest gamut definable without imaginary coordinates, covering 1.89 times the area of Rec.709. It is a delivery container rather than a capture space. No current display reproduces it in full, so HDR work is typically monitored on a P3 subset and delivered inside a 2020 container.